U64006 INTRODUCTION TO SCREENWRITING WEEK 1 MODULE CONTENT AND COURSEWORK REQUIREMENTS APPROACHES TO...

U64006 INTRODUCTION TO SCREENWRITING

WEEK 1

MODULE CONTENT AND COURSEWORK REQUIREMENTS

APPROACHES TO NARRATIVES

SCREENWRITING

•Who is a screenwriter?

Week 1 - Module contents & requirements

U64006 Introduction to Screenwriting

JOBS AND INDUSTRY

• Filmmaking is an INDUSTRY

• Screenwriters SELL scripts (or ideas for scripts)

• Production companies• Distribution companies• Funding organizations• Directors and stars (agents)

• Jobs• Writers (screenwriter, story editor, script doctor, ghost writer)

• Readers (script reader, story editor, development producer, commissioning editor, buyer, agent, continuity)



FORM, NOT FORMULAS

• Films = art + product (some are not art at all, but just entertainment)

• Products = targeted to audiences expectations (to fulfill)

• Skills and techniques Standardized language



FACTORS

Economic-industrial structures Political-economic dynamics Technical and practical aspects

NARRATIVE MODELS

Other sources &media/means of expression



FORM, NOT FORMULAS

Products = Art ?

To produce: from latin “producere” to create

ART Creative process

SCIENCE Technique, method

Process, method standards

• Philip Parker (1999) The Art and Science of Screenwriting. Exeter: Intellect.



SCREENWRITING

•Who is a screenwriter?

•What does s/he do?



Script or screenplay?

Script = more generic (any written work, including screenplays)

Screenplay = play for the screen (film industry, screenwriter)

What is a screenplay?• 90-120 pages• Action + dialogue (SEE + HEAR)



DEVELOPMENT PROCESS

• Idea (theme) • Subject Premise (?)

• Outline• Treatment• Step outline (breakdown)

• Screenplay



DRAMA

• Drama = Action = someone doing something characters and events

• Starting point = an idea• Where do you find ideas?

• Ideas: books/novels, classics, plays, magazines, newspapers, headlines, biographies, conversations (overheard), experience, social issues, history, dreams, fantasies, fears, concepts, what...if?

• Truth + imagination + research



IDEAS

• Original/striking ideas Vs. clichés (banal, repetitive, unoriginal variations of same story)

• Talent Vs. Time and deadlines• Real BUT unusual stories• Inspiration/Creativity + Focus/control

Hamlet• Commercially commissioned piece of formula

writing• Hastily written• Very rigid format (revenge tragedy: e.g.

today’s gangster movie, with murders and betrayals)

• Foreign model (Spanish play)



IDEAS

DEVELOPMENT STRATEGIES (brainstorm and filter in/out)

• Identify type/genre of story• Identify scope of project• Plausible steps/characters• Unusual events • External triggers: topics, themes, existing models,

archetypes• Define the model (triggers); freely brainstorm away

from it; select best ideas; give coherence



IDEAS

DEVELOPMENT STRATEGIES (brainstorm and filter in/out)

Example• Starting idea/model: two characters fall in love with

each other• Identify the genre: romantic comedy (banal?)• Setting: place and era• Personal details: what if they are two murderers (or

just one and the other does not know)?• How do they meet?• What are the non-human barriers to the lovers?• Are there any rivals?



IDEAS AND SUBJECTS

• Idea dramatization subject = what the story is about

• Idea: a story about a gang and their robberies (?)

• Subject: “A gang holding up banks in the Midwest during the Depression, and their eventual downfall” Arthur Penn’s Bonnie and Clyde (1967)

• Generalized ideas into a specific dramatic subject premise



DEVELOPMENT PROCESS

• Idea (theme) • Subject Premise (?)

• Outline• Treatment• Step outline (breakdown)

• Screenplay



DRAMA

• Drama = Action = someone doing something characters and events

• Drama (story): a person, object or situation undergoing a particular type of CHANGE

• Drama/Story elements:

- Existents (characters, settings)

- Processes (actions by persons or forces of nature) that

stipulate changes



NARRATIVE vs NARRATION

• Narrative: organization of the experience (spatial, temporal, causal perception) of change through pattern of relationships between story elements (characters, events, processes) at various stages

• A narrative does not tell the whole story, but a selection of the most significant events in relation to the main line of action concerning the character’s change, arranged in a given way




• A narrative is always perceived in chronological order, and time is consequential and directional (i.e. always goes forward) BUT spectator’s experience of DURATION is NOT the same as narrative ORDER of the events, which can be SIMPLE/LINEAR or COMPLEX/NON LINEAR

• Viewers will rearrange all narrative information (knowledge), by creating “logical” connections and by filling the gaps based on mental schema, raising expectations and validating them or redirecting them




• The order in which a writer organizes the narrative events creates the plot(s) and give the story a structure

• Narrative = what (story elements)• Narration = how (plot and structure)



STORY AND PLOT

• Story elements “W” questions

WHO? Characters

WHAT? Action

WHEN? Setting

WHERE? Setting

WHY? Motivations/goals

Someone doing something, sometime and somewhere,

for some given reason

• Plot (element of structure) HOW? IF? (cause/effect logic of events)



STORY AND PLOT

PROPP (then French Structuralists)

• 7 basic spheres of action (character roles)• 31 functions (types of action)• moves (frequent strings/combinations of

functions/action)• auxiliaries (transitions)



STORY AND PLOT

TODOROV (five stages)

1. A state of equilibrium (outset) (introduction of characters and settings)

2. An initiating event/disruption of the equilibrium by some action (processes)

3. A recognition that there has been a disruption / emotional response (conflict / statement of a goal)

4. An attempt to repair the disruption (main plot line, complicating actions) Outcome of attempt and reactions to outcome (more complications, climax)

5. A reinstatement (or not) of the initial equilibrium (resolution)



SIMPLE AND COMPLEX STRUCTURES

• The Full Monty, The Piano, Star Wars, When Harry Met Sally – Linear structure

• Pulp Fiction – In medias res structure• Slumdog Millionaire – Double flashback• Eternal Sunshine of the Spotless Mind – (Semi)circular structure + flashback & repetition pattern

• Memento – “Backward” structure• Mulholland Drive - ??



MODULE CONTENTS

Handbook and syllabusSTATEMENT (sign and hand in by week 2)

Weekly schedule (lectures and seminar sets) Coursework and assessment Resources

CREATIVE/PRACTICAL PATHWAYYEAR 1• Film Form and Technical Skills• Introduction to Screenwriting• Video Production

YEAR 2• Screenwriting: Advanced Level• Film production Management and Practice• Advanced Video Production

YEAR 3• Film Project (Fiction or Documentary)• Independent Study - Practical



MODULE SYLLABUS



MODULE SYLLABUS

• Always use and refer to module handbook handed out by module leader

• Download updates from Module Web page (not VLE)

http://paolorusso.webs.com/introtoscreenwriting.htm

• Check this out regularly (i.e. weekly)• Handbook and any updates• Lecture PPTs• Any additional course material• Any other info



CONTENT

• Introduction to the basic professional skills and jobs (writing and reading)

• Story development process

• Basic principles of story design in feature films

• Storytelling techniques



LOCATION & TIME

All sessions are on Thursday mornings

• Wks 1,2,6,10,11,12: 10 am-12 noon

Lecture only (or in-class tests)

• Wks 3-5, 7-9

Seminar set 1: 9-10 am

Seminar set 2: 10-11 am

Lecture: 11 am-12.15 pm

• NO separate screenings.

Also Check GoogleCalendar



SEMINARS

• Dr. Alison Kahn

• Weeks 3-5 and 7-9 (6 in total, before lecture)• Set 1 OR Set 2 - Stick to relevant time slot

(e.g. an early start at 9 am is no excuse to skip Set 1 and attend Set 2 instead)

• Attendance to ALL sessions is mandatory (2% penalty) and, in the case of seminars, also affects final assessment

• Class presentations (individual) and active contribution to seminar discussion - Assessed

• Details on pages 4,5,9 in handbook• Group homework VS impersonation



WEEKLY SCHEDULE

Check module handbook (pp. 7-8) for full details

Wks 1-6 • Storytelling techniques, basic paradigms

(1-3), characters, dynamics• Test 1 (wk 6 – topics wks 1-4)

Wks 7-12 • Basic paradigms (4), complex narratives,

short formats, story design• Guest – wk 11• Test 2 (wk 12 – topics wks 5, 7-11)



ASSESSMENT

Week 1 - Module contents & requirements 100% coursework

• 25% Active participation to seminars and class presentations

• 25% In-class test 1

• 25% In-class test 2

• 25% Written assignment


Coursework 1 - SEMINARS


25% Active participation to seminars and class presentations

a) At least ONE class presentation (10-15’) (10%)

• Choose film to analyse from those listed in weekly homework on pp. 7-8

• Liaise with Dr. Kahn [email protected] by Thursday week 2 with indication of film - “first come first served basis” (3-4 students per set per week)

• Students “may” be allowed to give a second presentation

• Instructions on how to analyse a movie for class presentations on pp. 4-5 of handbook, and as per lecture in week 2


mailto:[email protected]

Coursework 1 - SEMINARS

Week 1 - Module contents & requirements 25% Active participation to seminars and class

presentations

b) Active participation to seminar discussion (15%)

• Based on frequency of participation to discussion and on relevance of arguments

• i.e. study weekly film for homework even when not giving presentation, come to class with ideas

• all students to contribute “actively” (if no contribution, session will be cancelled)


Coursework 2&3 IN-CLASS TESTS

Week 1 - Module contents & requirements • Multiple-choice format (25 questions

each)

• All topics and films

• Thursday 8 March (wk6) – Questions on topics from wks 1-4

• Thursday 3 May (wk12) – Questions on topics from wks 5, 7-10

• 25% of final assessment, each


Coursework 4 - WRITTEN ASSIGNMENT


2-PAGE STORY OUTLINE (25%)

• Each student develops own story idea for a narrative feature film.

• Page 1: a one-sheet, i.e. a short synopsis of the narrative with clear indication of act breaks; each act must consist of small paragraphs, each corresponding to a main narrative steps.

• Page 2: brief sketches of the main characters (including traits, back stories, dynamics)

• Wordcount – 1,000 words (+/- 10%). Penalty applies.

• Note – Students undertaking Screenwriting: Advanced Level in Year 2 will use this story outlines to develop their own scripts.


Coursework 4 - WRITTEN ASSIGNMENT


2-PAGE STORY OUTLINE (25%)

• DEADLINE for submission – Thursday 3 May (wk12), start of class.

• You MUST submit:• a printed copy of the outline.• a DOC or PDF file of the outline via email at

[email protected] (specify “Coursework submission” as subject).

• DOC and PDF files will be run through Turnitin to check for plagiarism.

• KEEP receipt notification as record of submission. • Note – Safe storage and final submission of any

coursework-related material will be your own responsibility.


mailto:[email protected]

PENALTIES


• Non attendance: 2% per any missed session• Non attendance at seminar when presentation due: 10%• Late submission of written assignment (same day): 10%• Late submission of written assignment (not on same

day): 0% (of 30%)• Non submission of written assignment: Technical Fail

(or lowest mark where applicable)• Incorrect word count in written assignment: 5%• Non attendance at test: Technical Fail (or lowest mark

where applicable)

Deadlines MUST be met. No extensions will be granted except for documented medical reasons or acceptable mitigating circumstances (see Regulations). Any late submission will be regarded as non-submission.


REGULATIONS

Week 1 - Module contents & requirements • NO PLAGIARISM, impersonation, collusion,

duplication, falsification

• Illness and medical certificates• Ill when coursework or test due?

It is YOUR responsibility to obtain a Medical Certificate and hand it in to Student Admin (Academic Management Office) Resit

• Also, notify module leader via e-mail BEFORE due date

• University Regulations in Brookes Student’s Guide Deadlines and penalties

Detailed info available in handbook


READING AND VIEWING

CORE TEXTBOOKSyd Field’s The Definitive

Guide to Screenwriting, London: Ebury Press, 2003

• Chapters 7-11: set-up, (scene/sequence, plot points, building the screenplay)

(other editions available)

• More references on pp. 5-6 in handbook

• Books on screenwriting available in Library, shelfmarked 808.23



READING AND VIEWINGFILMS (in-class lectures/seminars + tests)

• Eternal Sunshine of the Spotless Mind (USA 2004, screenplay by Charlie Kaufman)• Memento (USA 2000, screenplay by Christopher Nolan)• Mulholland Drive (USA 2001, screenplay by David Lynch)• Notting Hill (UK-USA 1999, screenplay by Richard Curtis)• Pulp Fiction (USA 1994, screenplay by Quentin Tarantino)• Se7en (USA 1995, screenplay by Andrew Kevin Walter)• Shrek 2 (USA 2004, screenplay by William Adamson, Joe Stillman, J. David Stem,

David N. Weiss)• Slumdog Millionaire (UK 2008, screenplay by Simon Beaufoy• Star Wars: A New Hope (USA 1977, screenplay by George Lucas) • The Full Monty (UK 1997, screenplay by Simon Beaufoy)• The Piano (Australia-New Zealand-France, screenplay by Jane Campion)• The Silence of the Lambs (USA 1991, screenplay by Ted Tally)• When Harry Met Sally (USA 1989, screenplay by Nora Ephron)

• Friends (USA 1995 – episode 2:14 ‘The One with the Prom Video’, 2002, screenplay by Alexa Junge)



APPENDIXES TO HANDBOOK

• How to use VLCMediaPlayer to analyse films

• Instructions for in-class tests

• Details on assessment criteria

• FAQs



SUMMARY OF WEEKLY ACTIVITIES


Week 1 - Module contents & requirements • Class: seminar and/or lecture

• Office hours• Homework

• Download and revise lecture notes• Readings (if any)• Watch and analyse films (for both

seminars and lectures)• Prepare presentations (if due)• Prepare ideas for class discussion

SUMMARY OF WEEK 1


Week 1 - Module contents & requirements • Screenwriters and industry, other jobs

with scripts• External factors and techniques• Script or Screenplay• Development process (ideas and

subjects)• Narrative form (story vs plot vs

structure, Aristotle)• Module handbook: content, requirements,

schedule, coursework, resources

WEEK 2


Week 1 - Module contents & requirements • Narrative paradigms (1): 3-act

structure, Syd Field

• Story design for feature films

• Analysis of narrative

• Case study: The Full Monty

HOMEWORK FOR WEEK 2


Week 1 - Module contents & requirements • Read (whole) handbook and sign

statement• Check out and bookmark module webpage• Obtain and start reading Field’s book• Obtain DVDs (store, Amazon, library)• Download and install VLCMediaPlayer• Watch “The Full Monty” (at least first

30’)• Purchase USB pendrive or external HD

for seminars

U64006 INTRODUCTION TO SCREENWRITING WEEK 1 MODULE CONTENT AND COURSEWORK REQUIREMENTS APPROACHES TO...

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